04 Jan 2009
PUCCINI: Turandot — Wien 1961
Turandot, dramma lirico in three acts.
Guglielmo Tell: Melodramma tragico in four acts
Mefistofele, Opera in un prologo, quattro atti e un epilogo
Music and libretto by Arrigo Boito (1842-1918), based on Faust: Eine Tragödie by Johann Wolfgang von Goethe
La Forza del Destino, a melodramma in quattro atti
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave based on the drama Don Alvaro o La fuerza del sino by Angel Perez de Saavedra
Martha, an opera in four acts.
Music composed by Friedrich von Flotow. Libretto by Wilhelm Friedrich.
First performance: 25 November 1847 at Theater an der Wien, Vienna.
La serva padrona, intermezzo in two parts
Music composed by Giovanni Battista Pergolesi. Libretto by Gennar'antonio Frederico.
First performance: 28 August 1733, Teatro San Bartolomeo, Naples.
Fidelio, an opera in two acts
Here we offer three selections from Macbeth with Maria Callas performing the role of Lady Macbeth. These are from a live performance given on 7 December 1952 at La Scala. Victor de Sabata conducts the Orchestra del Teatro alla Scala, Milano.
VERDI: Macbeth, melodramma in quattro parti.
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave, based on the play by William Shakespeare.
Music composed by Johann Strauss II.
Libretto by Richard Genée based on Henri Meilhac and Ludovic Halévy/Karl Haffner.
First performance: 5 April 1874 at the Theater an der Wien, Vienna.
Die lustigen Weiber von Windsor (The Merry Wives of Windsor), a comical-fantastical opera in three acts with dance.
Fedora, a melodrama in three acts.
Umberto Giordano, composer. Arturo Colautti, librettist, based on the play with the same name by Victorien Sardou
First performance: 17 November 1898 at Teatro Lirico Internazionale, Milan
Tosca, a melodrama in three acts
Giacomo Puccini, composer. Libretto by Luigi Illica and Giuseppe Giacosa, based on the play La Tosca by Victorien Sardou.
First performance: 14 January 1900 at Teatro Costanzi, Rome
Victorien Sardou (1831-1908) was a popular French dramatist during the later half of the 19th Century. He, along with Eugène Scribe, combined melodrama and realism to a produce a more serious form of drama that emphasized careful plot construction.
A few years ago, I had the rare experience of attending a performance of Tosca in a small farm community where opera was a fairly new commodity. After the second act ended, with Scarpia's corpse lying center stage, I happened to overhear a young, wide-eyed woman say to her companion, "I knew she was upset, but I didn't think she'd KILL him!"
Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Eugene Onegin, lyrical scenes in three acts and seven tableaux.
Pyotr Il’yich Tchaikovsky, composer. Libretto by the composer, based on the verse novel by Aleksandr Sergeevich Pushkin.
First performance: 29 March 1879 at the Maliy Theatre, Moscow.
Aleksandr Sergeevich Pushkin (1799-1837) is generally considered Russia’s greatest poet. According to Andrew Kahn, his contemporaries held him “above all the master of the lyric poem, verse that is famous for its formal perfection and its reticent lyric persona, and infamous for its resistance to translation.” [Alexander Pushkin, The Queen of Spades and Other Stories, trans. Alan Myers, Oxford and New York: Oxford University Press, 1997]
The Queen of Spades (Pique Dame), an opera in three acts.
Pyotr Il’yich Tchaikovsky, composer. Modest Tchaikovsky and composer, librettists.
First performance: 19 December 1890 at the Mariinsky Theatre, St. Petersburg.
Manon Lescaut, dramma lirico in quattro atti
Giacomo Puccini (1858-1924), composer. Luigi Illica and Domenico Oliva, librettists.
First performance: 1 February 1893 at Teatro Regio, Turin.
Turandot, dramma lirico in three acts.
Streaming Audio
Music composed by Giacomo Puccini (1858–1924). Libretto by Giuseppe Adami and Renato Simoni based on Turandot, Prinzessin von China (1802), Johann Christoph Friedrich von Schiller's adaptation of Turandotte (1762) by Carlo Gozzi.
First Performance: 25 April 1926, Teatro alla Scala, Milan.
| Principal Characters: | |
| Princess Turandot | Soprano |
| The Emperor Altoum, her father | Tenor |
| Timur, the dispossessed King of Tartary | Bass |
| Calaf, the son of Timur | Tenor |
| Liù, a young slave-girl | Soprano |
| Ping, Grand Chancellor | Baritone |
| Pang, General Purveyor | Tenor |
| Pong, Chief Cook | Tenor |
| A Mandarin | Baritone |
| The Prince of Persia | Silent role |
| The Executioner (Pu-Tin-Pao) | Silent role |
Setting: Peking in the distant past.
Synopsis:
A Mandarin announces that any prince seeking to marry the Princess Turandot must first answer three riddles. If he fails, he must die. The latest suitor, the Prince of Persia, is to be executed at the moon's rising. In the crowd is Timur, banished King of Tartary, who is reunited with his son, Calaf, who he thought died in a battle. The Prince of Persia passes on his way to the scaffold and the crowd calls upon the Princess to spare him. Turandot bids that the execution proceed. As the death cry is heard, Calaf, transfixed by the beauty of the Princess, strides towards the gong that announces a new suitor. Turandot's ministers, Ping, Pang and Pong, try to discourage Calaf. Timur and Liù (who is in love with Calaf) also beg him to reconsider, but he strikes the gong and calls Turandot's name.
Ping, Pang and Pong lament Turandot's bloody reign, hoping that love will conquer her icy heart and peace will return. They think longingly of their distant country homes, but the noise of the populace gathering to hear Turandot question the new challenger brings them back to reality.
The people, eager for another execution, have gathered in the square. The Emperor asks Calaf to reconsider, but he refuses. Turandot describes how her ancestor was dishonoured and killed by a conquering prince; the cruel trial her suitors have to undergo is revenge for that crime. Turandot asks Calaf three riddles, which he answers correctly. Turandot begs her father not to give her to the stranger, but to no avail. Calaf, hoping to win her love, offers Turandot a challenge: if she can learn his name by dawn, he will forfeit his life.
Calaf hears a proclamation: on pain of death, no one in Peking shall sleep until Turandot learns the stranger's name. Ping, Pang and Pong try unsuccessfully to bribe him to learn his secret. As the mob threatens him, soldiers drag in Liù and Timur. Calaf tries to convince the mob that neither knows his secret. Liù declares that she alone knows but will never tell. She is tortured, but remains silent. Impressed by such endurance, Turandot asks Liù's secret: "Love" replies Liù. Fearing that she will weaken under torture Liù seizes a dagger and kills herself. The crowd, fearful of her dead spirit, forms a funeral procession. Left alone with Turandot, Calaf first reproaches her for her coldness and cruelty, then kisses her. Feeling emotion for the first time, Turandot weeps. Now sure of his victory, Calaf reveals his identity. Before the assembled crowd, Turandot announces the stranger's name: it is Love. As Calaf embraces her, the court hails the power of love and life.
[Synopsis Source: Opera Australia]
Click here for the complete libretto.
Click here for the complete libretto (English translation).
Click here for the complete text of Turandot, Prinzessin von China.